[So we won't be seeing the Australian Ballet consider a naked Albrecht, a la Mats Ek, any time soon?] It would not be the sort of thing that we would seek out, ... I think if one relies on sensationalist nudity to make a ballet relevant to a contemporary audience then there obviously is some work needed on that ballet.

[But there are others uneasy about the encroachment of bare skin.] I think as a rule in classical ballet there is not a great call for nudity, ... Our aesthetic is one built around a clarity of line and form which is seen at its best when there is a uniform covering of the body.

I come from a ballet background; I did ballet for 12 years and I consider that my theater. I told stories with my body for 12 years and then came into this industry. I couldn't let go of that and it's still important to me. I really wanted to learn the skills of what Aeon had. I wanted to learn gymnastics; I didn't want to just be on wires and fake everything. I learned some skills I never thought I would learn.

People in trailers were canned and labeled much like the apple juice down at the plant, stamped with ingredients for all the world to see: chicken fried steak, overcooked vegetables, no working knowledge of any major Italian movie directors--the list went on and on.

There seemed to be some correlation between devotion to God and a misguided zeal for marshmallows.

I'd tried to straighten him out, but there's only so much you can do for a person who thinks Auschwitz is a brand of beer.